DALLAS, TX, FEBRUARY 12, 2013 – The Dallas Opera, in partnership with Cowboys Stadium and with support from The Dallas Foundation, is extremely proud to announce the second classical music simulcast conducted in a North Texas sports venue. The announcement was made this afternoon at a gathering of representatives of several prominent organizations and local media at Cowboys Stadium in Arlington. Participants included Dallas Opera General Director and CEO Keith Cerny; Gene Jones; Charlotte Jones Anderson, Executive Vice-President Brand Management/President of Charities; Dallas Foundations President Mary Jalonick; and Nicole Small, CEO of the Perot Museum of Nature and Science.

Gene Jones (the wife of Dallas Cowboys Owner, President and General Manager Jerry Jones), whose vision led to the Stadium’s museum-quality collection of contemporary art, was on-hand to welcome guests and attending media.
“Hosting the first ever live simulcast at Cowboys Stadium last spring was a wonderful way to reach out and connect with new audiences,” she explained. “Cowboys fans who might not be familiar with opera, as well as patrons who might not otherwise come out to Cowboys Stadium were able to see something new.
“From the reaction of those in attendance, I believe the evening was a complete success and we look forward to this fabulous encore!”

The Dallas Opera’s 2013 Cowboys Stadium Simulcast of Italian composer Giacomo Puccini’s TURANDOT will take place on Saturday, April 13, 2013 at 7:30 PM (doors open at 6:00 PM) at the state-of-the-art home of the Dallas Cowboys located at One Legends Way in Arlington, Texas. Patrons will be able to enjoy a complete, unabridged live performance on the world’s largest high-definition video board structure, comprised of four massive viewing screens (the largest, 72 feet tall and 160 feet wide) suspended directly above the playing field.
At 6:45 PM, prior to the live performance, the Dallas Opera will present what is believed to be the world’s largest cartoon screening (based on screen size): Warner Brothers Classics 1957 masterpiece, “What’s Opera, Doc?” starring Bugs Bunny and Elmer Fudd and voted the #1 cartoon ever produced (in 1994, by a thousand members of the animation field).
Directed by animation legend Chuck Jones, the cartoon pokes fun at opera’s most persistent stereotypes, Wagnerian heft, and Elmer Fudd’s never-ending pursuit of that “wascally wabbit!”
Free general admission tickets can be obtained through the Dallas Opera website, effective immediately, at www.dallasopera.org/cowboys.

“In 2012, The Dallas Foundation helped the Dallas Opera bridge the distance between two very different cultures: the world of professional opera and the world of professional football,” explained Mary Jalonick, President of The Dallas Foundation. “The Dallas Foundation is proud to again be the presenting sponsor of the Dallas Opera’s 2013 simulcast of Turandot on April 13th.
“If you didn’t have a chance to attend last year, don’t miss this opportunity to experience a world-class performance at the world-class Cowboys Stadium.”

“We are excited to partner with the Dallas Opera for a second Cowboys Stadium Simulcast,” said Dallas Cowboys Executive Vice President of Brand Management Charlotte Anderson. “Our organization greatly admires and respects The Dallas Opera’s original thinking and stewardship in making ground-breaking events like these a reality because we truly value the importance of the arts in our community.”

“It’s been a personal goal of mine to bring tremendous artists and unforgettable entertainment to the widest possible audience here in North Texas,” commented Dallas Opera General Director and CEO Keith Cerny, “and nothing does that better than opera, as shown by the thousands who attended last spring’s Cowboys Stadium Simulcast of Mozart’s The Magic Flute.”
“The Dallas Opera is extremely honored that The Dallas Foundation is supporting this event for a second consecutive year and we are equally grateful for the generosity of the Jones Family, who encouraged this extraordinary collaboration with the Cowboys organization from the moment we made our dream known to them.”
“I hope that the centralized location of Cowboys Stadium will—once again—attract music and theater lovers from here to the Red River, to this free simulcast of Puccini’s final and most glorious masterpiece,” Mr. Cerny adds, “especially those who, for a variety of reasons, have perceived opera as an intimidating or challenging art form, rather than an incredibly exciting way to spend an evening with those you love.
“We want to set a fun and relaxed tone, right from the start, with our special screening of a phenomenally popular cartoon that’s a subversive work of genius: Warner Brothers Classics’ ‘What’s Opera, Doc?’ made in 1957, the year the Dallas Opera was launched. That famously huge white horse Bugs rides will never be any bigger than on the screens at Cowboys Stadium; and I, for one, can’t wait!”

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TURANDOT will star American soprano Lise Lindstrom, making her Dallas Opera debut as Princess Turandot. Ms. Lindstrom made a splash singing this role in her Metropolitan Opera debut. The New York Times wrote: “The youthful shimmer of her singing was balanced by a rich emotional maturity.” Critics found her “dramatically alluring and vocally impressive, winning enthusiastic ovations from the audience.”
Earlier this season, Ms. Lindstrom appeared with Arena di Verona, les Chorégies d’Orange, and Theater Wiesbaden in the role of Princess Turandot.
Ms. Lindstrom has also been earning critical acclaim for her believable depiction of Richard Strauss’ passionately possessed heroine, Salome. The Opera Critic wrote: “Lise Lindstrom is a Salome to be reckoned with. Here’s a soprano with a model figure and the ideal deportment to depict Strauss’ teenage princess. Not only has she the capacity to soar over the composer’s most intense orchestration with ease and beauty, but she manages to maintain seemingly endless stamina throughout -- and includes a compellingly seductive dance for good measure. It was gratifying to see the well-earned reception at her solo curtain.”
At the center of this quest for Ms. Lindstrom’s heart and hand is Italian tenor Antonello Palombi as Prince Calaf. Earlier this season, Mr. Palombi appeared in TDO’s production of Aïda prompting Theater Jones’ Gregory Sullivan Issacs to write “He has a solid tenor voice with baritone overtones and a secure top. In a role where many tenors bellow from start to finish, Palombi actually sings the dynamics that Verdi wrote in the score. Verdi asks for soft high notes, an anathema for most tenors capable of singing the role, but Palombi did a fine job with floating some lovely pianissimos, only rarely resorting to falsetto. He was especially effective in this effort in the last scene.”
Beloved Korean-American soprano Hei-Kyung Hong returns to the Dallas Opera stage as the ever-loyal Liù. Miss Hong was last heard here in the title role of Jules Massenet’s Manon (2001) after previously singing the role of Mimì in the company’s sold-out 1999 production of La bohème. She has appeared onstage at the Metropolitan Opera in nearly 350 performances over the past 25 years; most recently as Violetta in La traviata (also for Washington Opera, to rave reviews), as Juliet in Gounod’s Roméo et Julliette, and as Micaëla in Carmen.
James Jorden of The New York Post wrote earlier this year that “her lyric soprano remains fresh and delicate, soaring to high C’s and D’s” while Classical Voice reviewer Truman C. Wang exclaimed, “There can be no doubt about the sheer vocal thrills delivered by the fine international cast, led by the incomparable Liù of Korean soprano Hei-Kyung Hong. In her two poignantly sung arias, ‘Signore ascolta’ and ‘Tu che di gel sei cinta,’ Ms. Hong offered an object lesson on legato singing and stylish phrasing that made the last of Puccini’s Little Girls seem almost heroic. No one today in my experience sings this role better.”
American bass-baritone Christian Van Horn sings the role of Calaf’s father, Timur, the exiled Tartar King. Praised by Richard Sheinin in Mercury News for a voice as “solid as oak, but supple and capable of sad, tipsy humor,” Mr. Van Horn previously triumphed in a host of roles for using “his booming bass voice to tender effect” (William V. Madison, Opera News).
Baritone Jonathan Beyer, tenor Joseph Hu and tenor Daniel Montenegro will sing the roles of Ping, Pang and Pong, respectively.
“Mr. Beyer,” reports The Washington Post, “has the luxury of a robust, handsome voice, and promising years ahead.” A 2006 national finalist at the Metropolitan Opera National Council Auditions and winner of the 2007 Marion Anderson Competition, Mr. Beyer struck gold this year, winning a George London Foundation Award, the Musical Fund Society Career Advancement Award, and the American Prize in Vocal Performance and in Art Song (to name a few). He made his unusual Dallas Opera debut off-stage—in the Orchestra Terrace—as the Voice of Captain Gardiner in the world premiere production of Jake Heggie and Gene Scheer’s Moby-Dick (2010, Dallas Opera).
Joseph Hu has appeared in numerous Dallas Opera productions, most recently as The First Jew in Salome (2008). After making his 1995 debut as Benvolio, he went on to appear in nineteen additional TDO productions to date, including notable roles in The Tales of Hoffmann, Madame Butterfly and Pagliacci (2005); Fidelio (2002), Nabucco (2006) and Macbeth (2007).
Daniel Montenegro will be making his company debut as Pong. Mr. Montenegro is a former Adler Fellow with San Francisco Opera where he performed such roles as Rustighello in Lucrezia Borgia, Remendado in Carmen and Pong in Turandot. Jason Victor Serinus of the San Francisco Classical Voice made note of Mr. Montenegro’s beautiful singing, adding, “If the first-year Adler Fellow, who previously displayed his bel canto excellence as Nemorino in the Merola program, develops more body in the voice, he has a promising future ahead.”
The second production of the “Pursuits of Passion” Season is a revival of a stunningly beautiful production of Giacomo Puccini’s final masterpiece, TURANDOT, last performed by the Dallas Opera in 2003, designed by Allen Charles Klein.

Conducted by Maestro Marco Zambelli and staged by Garnett Bruce, who has staged extraordinarily popular revivals of La bohème and Madame Butterfly for TDO and, most recently, our 2011 season opener, Lucia di Lammermoor with Elena Mosuc.
Chorus preparation will be by Dallas Opera Chorus Master Alexander Rom.

Sung in Italian, with English language translations projected above the stage, TURANDOT can be experienced at one of five additional performances on April 7(m), 10, 13, 19 & 21(m), 2013.

Puccini’s unfinished masterpiece was first performed in 1926 conducted by Arturo Toscanini. A former pupil of Puccini’s, Franco Alfano used Puccini’s outlines and notes to begin the difficult task of finishing the opera. On opening night, Toscanini did not perform Alfano’s ending. Unexpectedly, the conductor laid down his baton right after Liù’s final scene and addressed the audience, saying, “Here the Maestro died.”

Turandot is based upon a truly ancient story about a barbarian prince who comes to a splendid city (in this case, Beijing, China) where he is reunited with his long-lost father and a faithful servant. It is there that he encounters a cold but beautiful woman, the Princess Turandot, and decides to embark upon his greatest challenge—winning her heart and hand at the risk of his own life! This intriguing “battle of the sexes” also revolves around questions of family loyalty, faithfulness to duty, openness to emotion, and honesty with oneself.

Lighting design will be by Marie Barrett, with wig and make-up designs by David Zimmerman.
Chorus preparation will be by Dallas Opera Chorus Master Alexander Rom and Children’s Chorus Master Melinda Cotton.

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Single tickets for the remaining mainstage productions of the Dallas Opera’s “Pursuits of Passion” Season are on sale now, starting at just $19, through the Dallas Opera Ticket Services Office at 214.443.1000 or online at www.dallasopera.org. Student Rush best-available tickets can be purchased at the lobby box office for $25 (one per valid Student I.D.) ninety minutes prior to each performance.
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EVENTS AND GUEST ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT THE “PURSUITS OF PASSION” SEASON
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG

THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:

AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA
Ticket Information for the 2012-2013 Dallas Opera Season

All performances are in the new Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Single Tickets for TURANDOT, THE ASPERN PAPERS and family performances are on sale now. Tickets for the mainstage productions start for a new low price of $19! For more information, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at www.dallasopera.org.

THE DALLAS OPERA 2012-2013 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Sixth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in downtown Dallas. Evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. English translations will be projected above the stage at every performance. Assistance is available for the hearing impaired.

* Dallas Opera Debut
** American Debut
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The Dallas Opera is supported, in part, by funds from: City of Dallas, Office of Cultural Affairs; TACA; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to Mrs. William W. Winspear and the Elsa von Seggern Foundation for their continuing support.